The Half-Naked Truth

The Half-Naked Truth is like a machine gun on steroids, a super-fast paced movie and a stage for Hollywood's greatest carnival barker, Lee Tracy. Tracy spends the entire 75 minutes racing at break-neck speed through miles of monologue - because his character never talks with, only at, those around him - and it's wonderfully exhausting to keep up with him.

Eugene Palette plays one of the funnier roles I have ever seen him in. He's supposed to be Tracy's assistant, but he's not above pulling his own shenanigans on the side, particularly with respect to giving "private" acting lessons to a rather reluctant hotel maid.

At least a couple of the other reviewers here, unfortunately, have got the running gag about Pallete's sexuality wrong: as per Tracy's publicity idea, Palette, complete with turban, is fresh out of a Turkish princess's harem. The idea is NOT that he is a woman, but that he is a EUNUCH. And the movie revisits this inside joke a few times, always to the understandable indignation of Mr. Palette himself!

The plot itself really stretches credibility, but it doesn't matter. It's a fun and quick ride, so just enjoy.

I was first attracted to "The Half Naked Truth" by the reputation of Lupe Velez. I had encountered her name linked in a romantic but ultimately tragic way to Gary Cooper. They were both reputed to be promiscuous and she at least to be violently jealous. He was mentioned in connection also in her suicide in that he tried to help her but as a married man who had long moved on but remained friends. Further reading suggested she had a very tough childhood the child of a prostitute who would turn tricks herself. So I checked out the movie out of curiosity about her.

As mentioned by other reviewers , Lee Tracy is a driving force in this picture, as the hyper-active scheming cunning press agent, and his pace and presence swept me along in the fun. Yes, his character is a scoundrel. Yet he is an entertaining one that gives a twisted kind of value for his con. That value is delivered by the sexy and always entertaining Velez, she is the payoff that makes most forget that there is a con. However, Jimmy Bates is not just using her he's making her the toast of Broadway.

This story, an early screwball comedy, presents us with two true to life screwballs who create a kind of chemistry that makes a molecule out of elements. When they are together fighting or scheming or making love, sparks are in the air. This is because Velez really is a Mexican spitfire and she gives as good as she gets. Just as Bates is ready to propose to her he discovers her making time with the big-time producer. She also plays a fine fake Princess when he asks it of her. They practically drive each other through the scenes with their energy bouncing off each other and this makes the half naked truth quite a romp.

The supporting cast provide strong support. Eugene Palette takes the sidekick role even further in that he has his own operation going on with chamber maid Shirley Chambers, and he ultimately moves the story along both in the beginning and the end. This is an underrated gem, a veritable diamond in the rough.

Fast-talking promoter Tracy moves carny dancer Velez from lowly tent act to high-class Broadway using nothing more than wiles and wits.

Too bad we can't hook up Tracy and Velez to a generator, because between them they could whip up enough sheer energy to light a city block plus a few darkened bedrooms. Tracy is in overdrive the entire time, while Velez appears stuck in a permanent hip swivel. Her shimmying version of O Mister Carpenter is a charming show-stopper and, in my book, the movie's highlight.

Tracy, of course, specialized in these machine-gun roles. Here he's totally convincing, but not very likable, as the high-powered con man never at a loss for words or an under- handed scheme. As an actor, his average looks and lack of leading-man charisma add up to an odd commodity for glamour-obsessed Hollywood. Still, he's such a whirlwind of activity, you hardly notice. As for Velez, if she's an example of Mexican womanhood, then I say let's open the borders.

Add such colorful supporting players as Palette, Pangborn, and Morgan, plus lots of pre- Code innuendo, all whipped into a crowd pleasing mix by ace director LaCava, and you've got an amusing dish, even 80 years later. And, oh yes, as to the movie's big mystery—is the rotund Palette actually a harem-guarding eunuch in disguise? Just check out that deep froggy voice for a pre-Code answer.

Obviously I don't hate the actor Lee Tracy but I do find his movie persona the most annoying and unlikeable character Hollywood has ever spat out. By virtue of excellent writing his obnoxiousness is made to work perfectly in this surprisingly entertaining picture.

It was because the detestable Tracy was in this which deterred me from watching this for years but I'm so glad I did. It just goes to show what a difference a good writer and director ( in this case the same guy, Gregory LaCava) can make. It's no great classic but it's perfectly paced with just the right balance between fun and drama. I actually laughed out loud at one point - and that's a rarity for a miserable old sod like me. As much as Tracy is tolerable in this he's still unlikeable so unlike say Cagney, who could have carried this off so much better, he's not a loveable rogue, just a rogue.

Tracy isn't actually top billed in this, that plaudit goes to Lupe Vélez. If she's looking down on us now I think she'd be both bemused and absolutely delighted to know that ninety years after making this that men would still find her performance so crazily sexy. She really wasn't a very good actress but wow, dressed in the naughtiest outfits of 1932 like a member of The Pussycat Dolls, she really is a sight to behold!

Lee Tracy is a name few would remember today. However, for just a few years in the 1930s, he was a hot commodity--playing in some top films for top studios like RKO, Fox, Warner Brothers and MGM. So what happened to him? Well, he had two huge problems--he was typecast as the same sort of fast- talking sharpie (often a reporter or confidence man) AND he was an idiot. I really hate to be so blunt, but his off-camera behaviors severely alienated him and the studios apparently tired of working with him and apologizing for his actions.

In "The Half Naked Truth", Tracy plays a very typical sort of role--the fast-talking showman who lies, tells half-truths and promotes his girlfriend, Lupe Valez, from a cheesy carnival sideshow act to the toast of Broadway. However ridiculous this was (as Valez' character had no discernible talent and the charisma of a case of the clap), the film is entertaining on a basic level. Don't think too much and you can enjoy it. So why did I give it only a 6? Well, it broke absolutely no new ground and Tracy's role is almost exactly like 1472343 others I've seen him do. In other words, it's fun but lacked originality to make it worthy of a higher score.